: Film Entry 

TITLE: Door, The
DATE : (2005, USA, 92 mins)
GOOD : Yes
FIND : rare
GENRE: Biographical, Drama, Fantasy/Sci-Fi 
THEME: Altered States, Contact, Creativity, Dreaming, Higher Friends, Immortality, Innocence, 
Masculine/Feminine, Mind, Powers of Spirit, Reality 
PLOT : A young man named Kent is broken hearted over losing his friend of more than 50 years to old-age. 
He returns for consolation to his lover/friend Ori, the flamboyant young leader of a group of gay thrill-seekers. 
Ori says times have changed and Kent needs a lesson in his true nature. So Ori introduces Kent to three people 
who have connected dreams. Kent finds synchronicities of opportunity to help each of the three people. 
He introduces the aspiring health director to the city mayor for an open position, he gives the stock trader
 5 million dollars to open his biggest account to date, and he becomes fiancee to the young woman looking 
for true love. Unfortunately, each of the dreams comes crashing down as the three find Kent's gifts disappearing 
when put to the test. They accuse Kent of being some kind of imposter con-man. Kent swears his intentions were 
good, but it takes Ori, friend to all, to explain Kent's true place in the world of human dreams. 
NOTES: Such an intriguing film! First of all, let me say it's a treat to watch something so overtly mystical. 
While masquerading at times as dramatic thriller or provocative theatre, "The Door" is a philosophical 
exposition on the relationship potentials between unlimited dream spirits and limited mortals. In this way 
it is remarkably classical, an update of Greek gods and their toyings and trysts with human beings. 
As entertainment in this time-honored tradition, "The Door" is (for better or worse) no "Xanadu", or anything else 
in that style. On the surface, this indie self-financed film is just watchable, being acceptably produced but largely
 b-grade. Acting is a bit stilted, sound uneven, lighting dodgy, some special fx cartoonish, and the editing can be 
confusing, with focus shifting abruptly between so many unintroduced characters that the viewer isn't entirely 
oriented til the film is half-over. The argument can be made that this is all perfectly dreamlike, and appropriate 
to reinforce the problems that arise when reality and dreams lack conscious boundaries. Even spirits/sprites
need to know their limits. 
 Interestingly, director/writer Bruce Wood is a museum-class avant-garde artist who is exploring feature narrative 
for the first time out of his own life-long dreamwork and concerns for our dreaming retarded society (watch for
 Bruce's colorful paintings in the backgrounds, along with masks, sculptures, and the eponymous impressive door). 
Bruce is admirably open to reveal that the lead dream sprite Ori is based on his own dream guide, with whom he 
would have nightly conversations to influence the next day's work on the project. Such creative method is so imminently 
respectable and advanced that "The Door" must now lead the short-list of movies that are consciously old-soul and 
proud of it (the dvd extras are in fact astounding true interview recreations with the dream beings who are the basis 
of the story). 
    And yet, because this work constitutes a whole theory and experience of dreaming, the film must be that much more 
deeply questioned. I appreciated the parallels between worlds, the hints of functioning soul groups, and even the 
gayness which can manifest the androgyny of these dream sprites. But where is the sense of incarnated life lessons, 
where are the guides who know how to work with humans for more than just wish fulfillment, and why would three
 humans who do connected lucid dreamwork get that confused between dreams and reality? Don't they know 
Ori is non-physical? Apparently these dream beings bemoan losing contact with humans when they die exactly 
because they are not the higher guides that we meet more, not less, on the other side. 
    I wonder if the director is demarcating by this project his own transition to a next level of dream usage. 
Or maybe human dreaming can simply encompass so many realms that I don't recognize the film's context. 
Or maybe I know these astral beings all too well, for they were the ones that encouraged some delusions of 
my own younger days (treasure hunting and conspiracy theories seem to be favorite games of some trickster entities). 
I do know that I spent years gradually realizing that I was projecting different faces onto a few constant dream 
companions, and years more elevating our interactions beyond the repetitive realms of fear and lust. If I were
 Bruce I would have made a different film emphasizing different challenges of dreamwork, such as symbolism, 
soul contact, and self archetypes. Maybe "The Door" teaches me to celebrate greater diversity in dream cultures - 
indeed, I don't spend a lot of time in dream chat rooms or magazines because I don't relate as much as I might like
 to other dreamers (many seem so literal, or sensual, or power-seeking, or...) But what a wonderfully big world it is,
 and a rare film like "The Door" makes it gloriously bigger. As one of my dream guides once told me, pointing first
 to the horizon and then to her heart, "There's enough room for a dream out there, and enough room for a universe in here." 

dir./writer Bruce Wood, stars Bill Ferris (Kent), Ryan Martin (Ori), avail at
All Original Writings Copyright © Carl J. Schroeder, All Rights Reserved. Images Are The Copyright Property 
Of The Respective Owners/Studios And Were Obtained Through Public Channels And Are Not Intended to Infringe 
On Any Copyrights